Fandom And/As Labor, No. 15 (March 15, 2014)
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Digital Fanfic in Negotiation: Livejournal, Archive of Our Own, and the Affordances of Read-Write Platforms
Digital fanfic in negotiation: LiveJournal, Archive of our Own, and the affordances of read-write platforms. Introduction Fanfiction is the unauthorized rewriting or adaptation of popular media narratives, utilizing corporately owned characters, settings and storylines to tell an individual writer’s own story (self-ref, 2017). It is often abbreviated to fanfic or even fic, and exists in a thoroughly grey legal area between copyright infringement and fair use (Tushnet 1997, McCardle 2011). Though there were a few cases of cease-and-desist letters sent to fan writers in the twentieth century, media corporations now understand it is useless to attempt to prosecute fanfic writers – for one thing, there are simply too many of us,1 and for another it would be terrible publicity. Though modern fanfic can be reliably dated to the 1960s (Jenkins 1992), it is now primarily an online practice, and the fastest growing form of writing in the world (self ref). This paper uses participant observation and online ethnography to explore how fanfiction archives utilize digital affordances. Following Murray, I will argue that a robust understanding of digital read-write platforms needs to account for the social and legal context of digital fiction as well as its technological affordances. Whilst the online platform LiveJournal in some ways channels user creativity towards a more self-evidentially ‘digital’ texts than its successor in the Archive of Our Own (A03), the Archive encourages greater reader interactivity at the level of archive and sorting. I will demonstrate that in some ways, the A03 recoups some of the cultural capital and use value of print. -
How to Choose a Self-Publishing Service ALLI #1
ALLi (The Alliance of Independent Authors) is the nonprofit professional association for authors who self-publish and want to do it well. Our motto is “Working together to help each other” How to Choose a Self-Publishing Service ALLI #1 As soon as an author starts to consider self-publishing, questions begin to arise. Some are fear-based questions like: What will others think? Will I have the same status as a “properly” published writer? These we can ignore, as we must ignore all self-doubt that interferes with creative output and flow. But valid, work- centered, creative questions also arise: “Do I have what it takes to go it alone and publish well?” “What services and supports do I need?” “What kind of provider is best for me as an author and the book I want to publish?” “How much will it cost me?” “How much can I make? Do I want to make a living at this?” “Who offers the best services for me and this particular project?” It’s not easy. An industry has sprung up We all need editors and good promotional around self-publishing and it’s growing at plans, at a minimum, if we are to do this great speed, with trade publishers who job well. Many others need assistance with traditionally invested in authors now design and production issues and publicity. getting charging for services. This is why author services are now in big demand. To become a self-publisher is to step from one work sector into another. Writing is When demand for any service is high, self-expression; publishing is business, for scammers and schemers circle. -
L'expérience De Création De Jeux Vidéo En Amateur Travailler Son
Université de Liège Faculté de Philosophie et Lettres Département Médias, Culture et Communication L’expérience de création de jeux vidéo en amateur Travailler son goût pour l’incertitude Thèse présentée par Pierre-Yves Hurel en vue de l’obtention du titre de Docteur en Information et Communication sous la direction de Christine Servais Année académique 2019-2020 À Anne-Lyse, à notre aventure, à nos traversées, à nos horizons. À Charlotte, à tes cris de l’oie, à tes sourires en coin, à tes découvertes. REMERCIEMENTS Écrire une thèse est un acte pétri d’incertitudes, que l’auteur cherche à maîtriser, cadrer et contrôler. J’ai eu le bonheur d’être particulièrement bien accompagné dans cette pratique du doute. Seul face à mon document, j’étais riche de toutes les discussions qui ont jalonné mes années de doctorat. Je souhaite particulièrement remercier mes interlocuteurs pour leur générosité : - Christine Servais, pour sa direction minutieuse, sa franchise, sa bienveillance, ses conseils et son écoute. - Les membres du jury pour avoir accepté de me livrer leur analyse du présent travail. - Tous les membres du Liège Game Lab pour leur intelligence dans leur participation à notre collectif de recherche, pour leur capacité à échanger de manière constructive et pour leur humour sans égal. Merci au Docteure Barnabé (chercheuse internationale et coauteure de cafés-thèse fondateurs), au Docteure Delbouille (brillante sitôt qu’on l’entend), au Docteur Dupont (titulaire d’un double doctorat en lettres modernes et en élégance), au Docteur Dozo (dont le sens du collectif a tant permis), au futur Docteur Krywicki (prolifique en tout domaine), au futur Docteur Houlmont (dont je ne connais qu’un défaut) et au futur Docteur Bashandy (dont le vécu et les travaux incitent à l’humilité). -
Fan Cultures Pdf, Epub, Ebook
FAN CULTURES PDF, EPUB, EBOOK Matthew Hills | 256 pages | 01 Mar 2002 | Taylor & Francis Ltd | 9780415240253 | English | London, United Kingdom Fan Cultures PDF Book In America, the fandom also began as an offshoot of science fiction fandom, with fans bringing imported copies of Japanese manga to conventions. Rather than submitting a work of fan fiction to a zine where, if accepted, it would be photocopied along with other works and sent out to a mailing list, modern fans can post their works online. Those who fall victim to the irrational appeals are manipulated by mass media to essentially display irrational loyalties to an aspect of pop culture. Harris, Cheryl, and Alison Alexander. She addresses her interests in American cultural and social thought through her works. In doing so, they create spaces where they can critique prescriptive ideas of gender, sexuality, and other norms promoted in part by the media industry. Stanfill, Mel. Cresskill, N. In his first book Fan Cultures , Hills outlines a number of contradictions inherent in fan communities such as the necessity for and resistance towards consumerism, the complicated factors associated with hierarchy, and the search for authenticity among several different types of fandom. Therefore, fans must perpetually occupy a space in which they carve out their own unique identity, separate from conventional consumerism but also bolster their credibility with particular collectors items. They rose to stardom separately on their own merits -- Pickford with her beauty, tumbling curls, and winning combination of feisty determination and girlish sweetness, and Fairbanks with his glowing optimism and athletic stunts. Gifs or gif sets can be used to create non-canon scenarios mixing actual content or adding in related content. -
Audiences, Gender and Community in Fan Vidding Katharina M
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2011 "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding Katharina M. Freund University of Wollongong, [email protected] Recommended Citation Freund, Katharina M., "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding, Doctor of Philosophy thesis, School of Social Sciences, Media and Communications, Faculty of Arts, University of Wollongong, 2011. http://ro.uow.edu.au/theses/3447 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] “Veni, Vidi, Vids!”: Audiences, Gender and Community in Fan Vidding A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy From University of Wollongong by Katharina Freund (BA Hons) School of Social Sciences, Media and Communications 2011 CERTIFICATION I, Katharina Freund, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Philosophy, in the Arts Faculty, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Katharina Freund 30 September, 2011 i ABSTRACT This thesis documents and analyses the contemporary community of (mostly) female fan video editors, known as vidders, through a triangulated, ethnographic study. It provides historical and contextual background for the development of the vidding community, and explores the role of agency among this specialised audience community. Utilising semiotic theory, it offers a theoretical language for understanding the structure and function of remix videos. -
Expressions in Fan Culture
Háskóli Íslands Hugvísindasvið Japanskt mál og menning Expressions in Fan Culture Cosplay, Fan Art, Fan Fiction Ritgerð til BA-prófs í japönsku máli og menningu Ragnhildur Björk Jóhannsdóttir Kt.: 210393-2189 Leiðbeinandi: Gunnella Þorgeirsdóttir Maí 2017 Expressions in Fan Culture Abstract This composition is a BA thesis for Japanese Language and Culture at the University of Iceland. In this essay, I will give the reader a little insight into the world of fan culture and will be focusing on how fans express themselves. Fans get inspired by books, movies and television programmes to create all kinds of fan work; whether it is fan fiction, fan art, doujinshi, cosplay, or any other creations. Furthermore, the thesis will explore fan culture as it presents itself in Japan and compare it to fan culture in Europe and the USA. I will discuss the effect these creations, although mainly fan fiction, has on authors of popular media and on social media and how the Internet has made it easier for fans all over the world to connect, as well as for fans and creators to connect. 2 Expressions in Fan Culture Contents Abstract ..................................................................................................................... 2 Contents .................................................................................................................... 3 Introduction ............................................................................................................... 4 What is Fan Culture .................................................................................................. -
Behaviours and Outcomes in Unauthorised Fan-Made Video Game Production
Behaviours and outcomes in unauthorised fan-made video game production Kris Erickson*, Martin Kretschmer*, Olympia Mavridou**, Gregor White** CREATe, University of Glasgow ** University of Abertay Dundee What is a fan game? “A new game project, initiated by fans, which takes inspiration from a pre-existing video game… a fangame adds a significant new experience, differentiating it from minor tweaks, mods, or hacks that merely transform an existing game experience. A fangame project is judged to be motivated by love for the original game, rather than piggybacking on existing engine or source code to make a new product.” Original game may, or may not, be commercially available. Space Quest 0: Replicated Kings Quest 2 Remake Narrative fidelity Ash Grey pastiche sequel Rayman 3D adaptation Narrative innovation Digital Innovation & Copyright Intervention Legal status of Remakes: Constitute copyright infringement if they copy a substantial part of the original (which fan games do, almost by definition) – Unauthorised use may signal (unmet) demand – Unauthorised use may conflict with exploitation of original, and/or damage reputation – Fan games can involve considerable innovation: technological and narrative (i.e. may be wanted from a policy perspective in their own right) Interventions? (1) tolerated use; (2) (pre-)litigation; (3) policy change (exception/non-use) Methodological difficulties: – unknown population – highly heterogeneous practice – reporting bias / survivorship bias (illegitimate activity) – decay of records (digital memory hole) -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
The Four Paths to Publishing
THE FOUR PATHS TO PUBLISHING Revolutionary changes and unprecedented opportunities in publishing have established four clear paths that authors follow to achieve their publishing goals. by Keith Ogorek Senior Vice President of Marketing and Product Development Author Solutions, Inc. The past four years have brought about more upheaval in the publishing industry than the previous 400 years combined. From the time Gutenberg invented the printing press until the introduction of the paperback about 70 years ago, there weren’t many groundbreaking innovations. However, in the last few years, the publishing world has undergone an indie revolution similar to what occurred in the film and music industries. With the introduction of desktop publishing, print-on-demand technology, and the Internet as a direct-to-consumer distribution channel, publishing became a service consumers could purchase, instead of an industry solely dependent on middlemen (agents) and buyers (traditional publishers). In addition, the exponential growth of e-books and digital readers has accelerated change, because physical stores are no longer the only way for authors to connect with readers. While these changes have made now the best time in history to be an author, they have also made it one of the most confusing times to be an author. Not that long ago, there was only one way to get published: find an agent; hope he or she would represent you; pray they sell your book proposal to a publisher; trust the publisher to get behind the book and believe in the project; and hope that readers would go to their local bookstore and buy your book. -
VULCAN HISTORICAL REVIEW Vol
THE VULCAN HISTORICAL REVIEW Vol. 16 • 2012 The Vulcan Historical Review Volume 16 • 2012 ______________________________ Chi Omicron Chapter Phi Alpha Theta History Honor Society University of Alabama at Birmingham The Vulcan Historical Review Volume 16 • 2012 Published annually by the Chi Omicron Chapter of Phi Alpha Theta at the University of Alabama at Birmingham 2012 Editorial Staff Executive Editors Beth Hunter and Maya Orr Graphic Designer Jacqueline C. Boohaker Editorial Board Chelsea Baldini Charles Brooks Etheredge Brittany Richards Foust Faculty Advisor Dr. George O. Liber Co-Sponsors The Linney Family Endowment for The Vulcan Historical Review Dr. Carol Z. Garrison, President, UAB Dr. Linda Lucas, Provost, UAB Dr. Suzanne Austin, Vice Provost for Student and Faculty Success, UAB Dr. Bryan Noe, Dean of the Graduate School, UAB Dr. Thomas DiLorenzo, Dean, College of Arts and Sciences, UAB Dr. Rebecca Ann Bach, Associate Dean for Research and Creative Activities in the Humanities and Arts, UAB Dr. Carolyn A. Conley, Chair, Department of History, UAB The Department of History, UAB The Vulcan Historical Review is published annually by the Chi Omicron Chapter (UAB) of Phi Alpha Theta History Honor Society. The journal is completely student-written and student-edited by undergraduate and masters level graduate students at the University of Alabama at Birmingham. ©2012 Chi Omicron Chapter of Phi Alpha Theta History Honor Society, the University of Alabama at Birmingham. All rights reserved. No material may be duplicated or quoted without the expressed written permission of the author. The University of Alabama at Birmingham, its departments, and its organizations disclaim any responsibility for statements, either in fact or opinion, made by contributors. -
THE FUTURE of IDEAS This Work Is Licensed Under a Creative Commons Attribution-Noncommercial License (US/V3.0)
less_0375505784_4p_fm_r1.qxd 9/21/01 13:49 Page i THE FUTURE OF IDEAS This work is licensed under a Creative Commons Attribution-Noncommercial License (US/v3.0). Noncommercial uses are thus permitted without any further permission from the copyright owner. Permissions beyond the scope of this license are administered by Random House. Information on how to request permission may be found at: http://www.randomhouse.com/about/ permissions.html The book maybe downloaded in electronic form (freely) at: http://the-future-of-ideas.com For more permission about Creative Commons licenses, go to: http://creativecommons.org less_0375505784_4p_fm_r1.qxd 9/21/01 13:49 Page iii the future of ideas THE FATE OF THE COMMONS IN A CONNECTED WORLD /// Lawrence Lessig f RANDOM HOUSE New York less_0375505784_4p_fm_r1.qxd 9/21/01 13:49 Page iv Copyright © 2001 Lawrence Lessig All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Random House and colophon are registered trademarks of Random House, Inc. library of congress cataloging-in-publication data Lessig, Lawrence. The future of ideas : the fate of the commons in a connected world / Lawrence Lessig. p. cm. Includes index. ISBN 0-375-50578-4 1. Intellectual property. 2. Copyright and electronic data processing. 3. Internet—Law and legislation. 4. Information society. I. Title. K1401 .L47 2001 346.04'8'0285—dc21 2001031968 Random House website address: www.atrandom.com Printed in the United States of America on acid-free paper 24689753 First Edition Book design by Jo Anne Metsch less_0375505784_4p_fm_r1.qxd 9/21/01 13:49 Page v To Bettina, my teacher of the most important lesson. -
Finalist Cirque Zuma Zuma, Known As
Authenticity shines like a beacon. SATURDAY, AUGUST 16, 2014 It can’t be manufactured and isn’t a commodity for sale. It carries the potency of truth and the sting of conviction. It’s the real deal, and it’s the essence of MCA Nashville www.drakewhite.com newcomer Drake White. SPECIAL GUEST When White sings “I’m a fan of beer ice cold, of waving at my neighbor when I meet him on the road, kissing on my woman in the moonlight. Yeah I’m a fan of the simple life,” it sounds like more than just a hit debut single. It sounds like the start of a great conversation with a new friend, and that’s just the way the Hokes Bluff, Alabama, native intends it. “One of my favorite things to do is share music with people,” says White, who has toured with Willie Nelson and opened for Eric Church, Kid Rock, Alan Jackson, Little Big Town and others. “I hope that my music gives you some kind of hope, something bigger than just the music that you can relate to, and it helps you get through the day.” The young singer/songwriter wrote or co-wrote each of the album’s 12 tracks and co- produced with Jeremy Stover. The songs reverberate with an appreciation for the things that mean the most in life as well as an infectious appetite for enjoying a good time and making the very most of every moment. It was there that his energetic live show started drawing attention, and Stover became one of White’s biggest supporters, bringing Music Row pals out to see his show.